LA girls get a punch of Paris attitude

Louis Verdad brought a little bit of Paris to Los Angeles on Sunday night, when he kicked off the fall runway shows at Smashbox Studios.

Hilton's favourite

Yes, front-row fixture Paris Hilton was in the house, barely looking up from her Sidekick to explain why: "I think it's the best show of LA Fashion Week,'' she said. "And he's going to give me the whole line.''

But let's forget about the freeloading heiress for a moment and focus on that other Paris. With this collection, Verdad carried over the aggressive mood that wound down the European season a few weeks ago, and placed himself at the head of the LA designer pack. For once, a collection shown here felt like it was in sync with the greater world of fashion.

Silver screen style

Since he began showing more than four years ago, Verdad has developed a reputation for hyper-feminine, 1940s-inspired suits with a dash of silver screen style. But this season, he left his comfort zone and found his edge, turning to the 1980s ? this autumn's favourite decade ? and playing with the masculine/feminine theme. He narrowed the silhouette, put focus on the waist and sexed up suits with slick patent leather, all perfectly in tune with fashion's new power woman.

Black and white

The show began with a tableau in black and white a la Helmut Newton. The first look was a great pair of black leggings with a tuxedo stripe, topped by a white poplin shirt with a skinny tie, and a menswear-inspired jacket that fanned out into sheer pleats in the back.

Verdad picked up on the trend of wide, waist-cinching patent leather belts started by Stefano Pilati at Yves Saint Laurent a few seasons back, and they were here in spades, circling a white zipper-front shirtdress with sheer insets at the shoulders, and a double-breasted glen plaid trench dress.

The collection was full of surprising colour and fabric combinations. Verdad came up with one of the season's more interesting sweater dresses ? an intriguing contrast in ivory knit and black chiffon, with a cable-knit yoke and front panel, offset by a sheer sweep of a skirt and full chiffon sleeves. A flirty, ivory cashmere cardigan with ruffles around the shoulders and wrists looked smart over wide tweed trousers, and a brown-and-gold boucle jacket with a glossy black patent back was perched atop black cigarette pants and gleaming patent platform pumps.

Verdad's evening wear has often looked costumey but this season he struck just the right real-world note. Who wouldn't want to wear a slim, black cocktail dress with an explosion of shredded ruffles in the front, or a floor-sweeping gown in a striking black-and-gold rose jacquard dotted with black silk flower appliques?

Kevan Hall

The day's other big show was from Kevan Hall, who took inspiration from Mahogany, Barry Gordy's deliciously cheesy 1975 film, which has Diana Ross going from the ghetto to fashion school to the runway and beyond. Working in a palette of earthy browns and creams punctuated with jewel tones, Hall captured the 1970s look that's all over the streets now, with fun little fur vests and jackets, blouses with billowing sleeves and wide tweed trousers.

Top dress

The best dress was cocktail length and off the shoulder, with a brown satin bodice and a lolling skirt covered in vermicelli-like embroidery. Gowns came in disco brights, one in turquoise silk jersey, ruched at the sides, and another in traffic-stopping red point d'esprit with a dreamy sheer overlay that made the whole thing float.

But the show could have used an edit. Several looks seemed to come out of nowhere, like a rose bustier with squiggle-like embroidery and the peach and gold jacquard bubble dress. Pretty, sure, but Diva Diana, no.